內容簡介
內容簡介 草間彌生「無限鏡屋」權威作品集：走入光影交織的無限宇宙首部也是唯一一部全面探索草間彌生最知名、最壯觀系列的專書與美國赫希洪博物館暨雕塑園共同出版本書聚焦享譽全球的日本藝術家草間彌生最具代表性的「無限鏡屋」（Infinity Mirror Rooms）系列，回顧其逾50年的創作歷程，以及它對當代藝術發展所帶來的深遠影響。草間彌生的鏡屋布滿繽紛燈光，透過鏡面無止境地映照延伸。從近似窺視箱的密閉空間，到融合多種媒材的大型裝置，每一座萬花筒般的沉浸式場域，都邀請觀者踏入無邊無際的幻象空間。這部權威性專書完整梳理「無限鏡屋」系列的演變，揭示作品意義如何隨時代轉化：從越戰時期象徵草間彌生「自我消融」的激進表達，到近年對和諧、連結與宇宙共存的追求。書中並置早期令人不安的實驗性裝置與近期絢麗迷人的沉浸式作品，將她的先驅性創作置於藝術史脈絡之中，重新審視其與當今體驗式藝術熱潮的關聯。全書收錄大量精美圖片，帶領讀者深入理解「無限鏡屋」如何貫穿草間彌生的藝術生涯，並改變人們觀看、進入與感受藝術的方式。草間彌生（1929年生）的創作橫跨雕塑、裝置、繪畫、行為藝術、錄像、時尚、詩歌與小說等領域。早年在日本，她主要從事紙上創作；1950年代末移居紐約後，躋身前衛藝術圈，以軟雕塑及實驗性創作影響安迪．沃荷、克拉斯．歐登伯格等藝術家。此時她亦積極參與偶發藝術與行為表演，並開始大量運用如今已成為個人標誌的圓點圖案。1973年返回日本後，她的創作一度淡出國際視野；直到1980年代，藝壇重新燃起對她的關注，使其作品逐步確立經典地位，並成為今日最具影響力的當代藝術家之一。The first and only comprehensive volume exploring the artist’s best-known and most spectacular seriesPublished with Hirshhorn Museum and Sculpture Garden.This book presents world-renowned Japanese artist Yayoi Kusama’s most famous series, the Infinity Mirror Rooms, and charts its influence on the course of contemporary art for over 50 years.Kusama’s rooms are filled with multicolored lights that reflect endlessly. Ranging from peep-show-like chambers to multimedia installations, each of Kusama’s kaleidoscopic environments offers the chance to step into an illusion of infinite space. This definitive publication traces these installations and reveals how, over the years, the works have come to symbolize different modalities, from Kusama’s “self-obliteration” in the Vietnam War era to her more harmonious aspirations in the present. By examining her early unsettling installations alongside her more recent atmospheres, this publication historicizes her pioneering work amid today’s renewed interest in experiential practices. Generously illustrated, this book invites readers to examine the series’ impact over the course of the artist’s career.Yayoi Kusama (born 1929) has worked not only in sculpture and installation but also painting, performance, video art, fashion, poetry, fiction and other arts. In her early career in Japan, she produced mostly works on paper. With her late-1950s move to New York City, she joined the ranks of the avant-garde, working in soft sculpture and influencing the likes of Warhol and Oldenburg. At this time, she was also involved with happenings and other performance-oriented works and began to deploy her signature dots. Her work fell into relative obscurity after her return to Japan in 1973, but a subsequent revival of interest in the 1980s elevated her work to the canonical status that it still enjoys today. The first and only comprehensive volume exploring the artist's best-known and most spectacular series Published with Hirshhorn Museum and Sculpture Garden. This book presents world-renowned Japanese artist Yayoi Kusama's most famous series, the Infinity Mirror Rooms, and charts its influence on the course of contemporary art for over 50 years.Kusama's rooms are filled with multicolored lights that reflect endlessly. Ranging from peep-show-like chambers to multimedia installations, each of Kusama's kaleidoscopic environments offers the chance to step into an illusion of infinite space. This definitive publication traces these installations and reveals how, over the years, the works have come to symbolize different modalities, from Kusama's "self-obliteration" in the Vietnam War era to her more harmonious aspirations in the present. By examining her early unsettling installations alongside her more recent atmospheres, this publication historicizes her pioneering work amid today's renewed interest in experiential practices. Generously illustrated, this book invites readers to examine the series' impact over the course of the artist's career.Yayoi Kusama (born 1929) has worked not only in sculpture and installation but also painting, performance, video art, fashion, poetry, fiction and other arts. In her early career in Japan, she produced mostly works on paper. With her late-1950s move to New York City, she joined the ranks of the avant-garde, working in soft sculpture and influencing the likes of Warhol and Oldenburg. At this time, she was also involved with happenings and other performance-oriented works and began to deploy her signature dots. Her work fell into relative obscurity after her return to Japan in 1973, but a subsequent revival of interest in the 1980s elevated her work to the canonical status that it still enjoys today.
